| "Evita" by Tim Rice (lyrics) and Andrew Lloyd Webber (music) At the New Jersey Performing Arts Center Reviewed by David Roberts for Theatre Reviews Limited Mounting a new production of a musical as popular as Tim Rice and Andrew Lloyd Webber's Evita places the producing organization in an interesting (and challenging) predicament. Should the 20th Anniversary Evita attempt to re-create the original production (which those who wax nostalgic would prefer) or should this new production move into directions requiring brave and risky choices (which many theatre goers might hope for)? The new 20th Anniversary production touring the United States and currently playing at the New Jersey Performing Arts Center (NJPAC) in Newark, New Jersey obviously chose to re-create with some attempt to do a new thing. The result is, overall, very positive and I encourage patrons to see this musical at NJPAC before its Sunday, January 31st close. This tour ends in Boston in June and then hopes to head to Boadway in the Fall. There is no reason it should not succeed, with a few major changes and a few more minor adjustments. Director and choreographer Larry Fuller and his creative team chose to re-create Evita's original staging and design. The new part of the production is the casting of Latino actors in the lead roles of Eva (Natalie Toro evenings, Ana Maria Andricain afternoons), Che (Raul Esparza), and Peron (Raymond Jaramillo McLeod; the incorporation of a more authentic Latin feel to all aspects of the production (from casting to choreography); and new set and costume designs from Tony- nominated designer Timothy O'Brien. Natalie Toro is a spunky and conniving (and very convincing) Eva who works her way up from an act in Beunos Aires to the most powerful person in Argentina. Toro's voice is powerful and clear and she is able to sell all of Eva's songs with grace and style. I liked her rather unconventional low-key rendition of Don't Cry for Me, Argentina. When an actor with Toro's powerful voice chooses to downplay an important number, one sits up and wonders why. The result is a new awareness of the lyrics and of the pathos behind the bravura performance of this Madonna Eva. Raul Esparza's Che is brilliant. Esparza's voice is perfect for the role and he knows how to use his voice in every one of Che's memorable songs, including Oh, What A Circus, High Flying Adored, and And the Money Kept Rolling In. I liked every moment Esparza was on stage but I wanted more from this talented actor. I wanted to see an edge in Che that was not there. Esparza is capable of taking Che in new directions and to new heights. The Broadway Evita will need this edge and I hope the creative team exploits the many depths of this wonderful actor. The role of Che can be one which takes some risk, maybe even moving out of the traditional political dissident role. How about an emcee? One definitely needs to see more of Esparza on stage, interfacing with other actors in new and challenging ways. If there is any problem with this Evita, it is in the roles of Peron and his Mistress. A move to Broadway is going to need a whole different persona for these important characters. The plodding, somewhat dull Peron I saw in Raymond Jaramillo McLeod has got to go and we need to see the underbelly of this conniving and flawed president. I would imagine McLeod is capable of such depth. He certainly has the voice. I don't know why almost every production depicts Peron in his flat way. Here's an opportunity to stretch this role for the new millennium. And Angela Covington's Mistress needs more depth and some more creative direction. Covington looks the part and certainly has a beautiful voice, but we need to see her up off the suitcase and delivering Another Suitcase in Another Hall in a whole new way. Here is an excellent opportunity for a new Che and a new Mistress to bring down the house. Trust me on this. None of this detracts from the power and beauty of this production. The facilities at NJPAC's Prudential Hall do total justice to this touring Evita. It looks totally comfortable in the space and everything works together to create a dynamic evening of high quality theatre definitely worth seeing. Timothy O'Brien's sets are wonderful; his projection are brilliant (I loved the moving screen); his costumes are on target and work well. Richard Winkler's lighting design is not only re-creative but almost always stunning and on target. Kevin Farrell and the "Evita" Orchestra are meticulous and spirited and give the production a rich musical shine. Larry Fuller's direction and choreography, though effective, could be pushed further to give the whole production just a little more of an edge. Tim Rice and Andrew Lloyd Webber had a great hit with this concept musical in the 1970s. "Evita" continues to be an endearing and an enduring marvel, particularly when witnessed at NJPAC's state-of-the-art facility in downtown Newark. Reviewed on Thursday, January 28, 1999 EVITA |